`Fedora’ Enmeshes Princess in Murder, Intrigue at Holland Park

http://www.bloomberg.com/apps/news?pid=10000088&sid=a8L59qld9aH0&refer=culture

ROSSINI: La Cenerentola

La Cenerentola, ossia La bont‡ in trionfo. Dramma giocoso in two acts.
Music composed by Gioacchino Rossini (1792–1868). Libretto by Jacopo Ferretti after Perrault.

Don Giovanni ó Millennium Centre, Cardiff

http://arts.guardian.co.uk/reviews/story/0,,1791112,00.html

ThaÔs, Grange Park Opera, Hampshire

http://news.ft.com/cms/s/fcc80b2c-f57c-11da-bcae-0000779e2340.html

Sumi Jo at the Kennedy Center

http://www.dcist.com/archives/2006/06/06/sumi_jo_at_the.php

There’s a guy works down the chip shop swears he’s Pavarotti

http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2006/06/07/nsing07.xml&sSheet=/news/2006/06/07/ixuknews.html

MAHLER: Lieder

Among the interpreters of Mahler’s music in the late twentieth century, Dietrich Fischer-Dieskau and Daniel Barenboim stand out for their various contributions.

BERNHARD: Geistliche Harmonien

The composer Christoph Bernhard (born Kolberg, Pomerania, 1628, died, Dresden 1692) embodies the problematic nature of German musical culture in the seventeenth century.

MONTEVERDI: Il ritorno d’Ulisse in patria

This Opus Arte set not only captures a mostly satisfying performance of Monteverdi’s opera based on the last books of Homer’s Odyssey, but features something even rarer: a booklet essay by the musical director (Glen Wilson) of remarkable lucidity.

LE JEUNE: Autant en emporte le vent ó French Chansons

In spite of the religious warfare that consumed France during the second half of the sixteenth century (which claimed the life of one eminent Catholic composer, Antoine de Bertrand, who was murdered by Protestants)*, musical life continued unabated.